There is an interesting phenomenon in the current calligraphy world, that is, very few "thin gold style" calligraphy works can be included in national exhibitions.
What is the reason why this problem is so prominent? Is it that the personality of Shoujin Ti is different from the needs of the current national exhibition, or is it that the abilities of contemporary scholars are insufficient?
Let me start with the following points and discuss them in depth.
First, the difference between the regular script of the Song Dynasty and the regular script of the Wei, Jin and Tang Dynasties.
The thin gold style belongs to regular script, and if it is selected for the national exhibition, it must be classified into the regular script category.
Speaking of regular script, the most prosperous period in the history of calligraphy was the three dynasties, the Wei and Jin Dynasties, the Northern and Southern Dynasties, and the Tang Dynasty.
The Wei and Jin Dynasties looked at the rhyme, the Southern and Northern Dynasties looked at the momentum, and the Tang Dynasty promoted the law. Among them, the Tang Dynasty regular script is the most complete. Tang regular script is the most important stage in the development of regular script. Both in terms of glyphs and brushwork, it has reached a very rigorous level. It is like a person learning calligraphy. stage.
As for Wei and Jin regular script, the most important key point is "rhyme", which pursues the interest of pointillism.
Strong and soft, there are many interesting things between dots and dashes. It can be said to be profound and endless, but more than quaint.
Looking at the regular script on Wei stele in the Southern and Northern Dynasties, the key point is "shi", then use The pen is relatively casual and the stippling is not neat, so it can be used freely without losing its interest. The knot characters are also shaped according to the situation, and there is no certain kneeling. What is pursued is the interest in the knot characters.
To sum up, the Wei and Jin Dynasties pursued the subtlety of dots and whites on canvas, while the Southern and Northern Dynasties pursued the subtlety of physical changes. In the Tang Dynasty, Ouyang Xun combined these two subtleties to form the existing Tang Kai has its rules and regulations, and it can be said that the method of regular script is here.
What about Song Dynasty regular script?
It is a more typical "Shangyi" regular script. The meaning is in cursive script, which is easy to express, especially in cursive script. However, in regular script The developability is very low, not as good as that of the Wei, Jin, and Tang dynasties.
Therefore, not only the thin gold style, but also the regular scripts of Su Shi and Huang Tingjian are rarely included in the national exhibition. This is not a problem with the thin gold style, but a problem with the entire Song Dynasty calligraphy style.
The Song Dynasty did not have an advantage in the choice of calligraphy style, but this was the reason that really drove Shou Jin Ti to death. It is not highly "soluble" with other fonts.
The National Exhibition is a "competitive" stage. To a certain extent, what is being competed is not pure calligraphy skills, but a rich expression of technology and art. Of course, this requires the support of basic skills.
For example, writing in Tang Kai script is easy to be selected. If you only write in pure European script, it will be very difficult to excel. After all, this is a competition, and there must be a distinction between high and low. In some cases, it’s not that the contributors are not good enough, but that the writing is not exciting enough, in other words, there is nothing new.
For example, another person who is interested in European regular script uses Chu Suiliang's brushwork and adds Er Wang's brushwork, which has a white ink color change. Even if his skill is slightly inferior, he can still beat pure European regular script. human.
In view of the standards of the National Exhibition, we can analyze the disadvantages of the slim gold body.
Thin Gold Style is an original calligraphy font created by Song Huizong. In essence, his brushwork and tools are unique and incompatible with other calligraphy styles. Many predecessors in this world have tried to melt them. If you are too thin, you will want to absorb the nutrients from it, but it will be difficult to succeed. Either you will lose the spirit or the details. In short, it will be endless and perfect.
The only thing that can express the beauty of the thin gold body is the thin gold body itself, which cannot be mixed with any impurities. Therefore, the changing space and fusion space of the thin gold body are not as free as other regular scripts.
This is a disadvantage in the competition. It's like someone else brings eighteen kinds of weapons to the battlefield, but you only have a machete. If you want to defeat others, you can only rely on pure kung fu, not colorful forms.
Therefore, in terms of exhibitions, the requirements for thin gold-style authors are higher, so there are very few.